Back in the 18th century, it was the infamous castrati who ruled the theatrical stages of Europe.
Tall, gangly eunuchs, they had been mutilated during childhood in an attempt to preserve their angelic singing voices. Deprived of testosterone, their voices remained astonishingly high -- a boy's voice in the body of a full-grown adult male.
They were strange, yet compelling performers and became the biggest pop stars of their day.
The castrati were demanding divas, renowned for their powerful high voices and even higher pay cheques. They improvised at will, decorated vocal lines beyond recognition, milked the applause and behaved as though the opera existed as a vehicle for their glorification, often ignoring the composer's musical and dramatic intentions.
In 1762, the renowned German composer and radical reformer Christoph Willibald Gluck wrote a work which would change the direction of opera entirely.
Premiered in Vienna, with Empress Maria Theresa attending, Orfeo Ed Euridice marked the beginning of the end for the castrati. A new age of realism had begun, in which singers became more fully integrated into the drama, paving the way for the dramatic achievements of Mozart, Verdi and Puccini.
Recently, at King's International School, Bangkok, Opera Siam presented Thailand's first ever staging of this landmark work. It would be difficult to argue that it is a flawless masterpiece. Apart from one unforgettable aria near the end, much of the score sounds like Mozart, but without that unmistakable spark of genius.
That's not to say this production wasn't impressive, with famed Thai conductor Trisdee Na Patalung directing a masterclass in 18th-century style. The modest orchestral forces created an appealing intimacy, while the chorus added colour to the scenes as Orfeo descended into the Underworld in search of his dead wife, Euridice.
The opera is remarkably concise, lasting little more than 80 minutes. It requires only three principal female singers -- though one portrays the mythological male hero Orfeo. Opera Siam's production was built around the captivating Orfeo of Thai star mezzo-soprano Kridhima Siriwattanakamol, who was born to sing this role.
Like the great American mezzo Marilyn Horne, she negotiates the lower part of her voice without any audible gear change, allowing the vocal line to flow naturally throughout her range. Her interpretation of the famous aria Che Farò Senza Euridice in the final act was all the more moving for its unaffected, instrumental simplicity.
Under the experienced direction of Somtow Sucharitkul, the stylish and fresh production design demonstrated how compelling this opera can be when presented with intelligence and conviction.
Wisely, he resisted any attempt to recreate the world of ancient Greece. Instead, the cast appeared in simple contemporary black clothing, with Euridice alone dressed in flowing white.
The opening funeral scene, unmistakably Thai in atmosphere and centred around a large photographic portrait of the deceased, immediately grounded the story in familiar home territory. A single white doorway centre-stage gave the production a strong focal point and was subtly transformed by changing colours, proving just as effective as elaborate scene changes.
Fourteen-year-old soprano Punnika Mahuemuang made an excellent impression as the goddess Amore. She possesses an attractive, easy upper register but also surprisingly strong lower notes, suggesting that musical theatre could also prove a natural home for her talents.
Chanya Maneewan, portraying Euridice as ethereal and otherworldly, possesses a fresh, high soprano which I could easily imagine growing into leading roles such as Violetta or Gilda.
The Opera Siam Chorus was on excellent form, relishing its multiple dramatic transformations, particularly effective as the tormented spirits imprisoned in the Underworld.
Their physical commitment allowed them to blend seamlessly with the elegant dancers. One of the evening's highlights was the chorus behind the prison bars of Hell, their bodies writhing as they desperately tried to grasp Orfeo.
The vigorous and rhythmic orchestral playing certainly excited my 10-year-old nephew Hummer. He became so absorbed by the music that he often found himself conducting along from his seat, despite me pointing out that Maestro Trisdee was managing splendidly well without his assistance.
The enthusiastic applause at the final curtain confirmed that visionary artistic director Somtow Sucharitkul and his gifted protégé Trisdee Na Patalung are leading opera in Thailand into an exciting new era.
